Jenny Han

North Carolina · connectedBorn 1980

American writer (born 1980)

Studied at University of North Carolina at Chapel Hill

writer, children's writer, novelist, film director, librarian, young adult author

Quotations with a citation

I don’t outline anything in advance. That can be really scary. I liken it to walking blindfolded. I’m trying to head towards somewhere, but I have no idea how to get there. I don’t write in order, either. I’m taking things as they come, following my fancy.

I don't plan anything out and I don't write in chronological order. The emotional tenor is what guides me, but a lot of it is feeling my way through the dark. That's okay if you have unlimited time to work and stumble upon things in a delightful way, but under a deadline it can be really stressful. The most joyful part of writing for me is when I am 90% there, and suddenly the story clicks into place and things finally start to make sense.

Well, I don’t ever plan anything in my books. Since I don’t outline, I tend to just go wherever my imagination leads me and where I feel excited to write about. I tend to write scenes that I would want to read.

It was definitely overwhelming and surprising. Going into it, I was just hoping that the fans of the book would feel happy and that it brought the story to life in a way that satisfied them. It was really gratifying to see so many people embrace it who were being introduced to it for the first time.

Immigrant parents don’t want their children to suffer or have to live harder than they did.

I think that with a book, you can excavate a story so much more because you're really in the character's head and you can go into much deeper detail. In a movie, what you might spend pages describing, you can do that in a flash. But there's also a feeling that you have to really streamline a movie too so it stays on the right track. And I think I would say that there are definitely changes made, but I think that to me, the spirit of the story is there. And that was what was most important to me, was just that people walked away with the same feeling that they had when they read the books, which is just, I hope, feeling a warm-hearted, cozy feeling.

When it comes to adapting a story for film, I think being able to understand what’s being asked of you and what you offer to the process is really important, and for me, I’ve always seen it as being the emissary: being the ambassador of the fans and understanding what they want. I’ve been with these books for a long time, so I understand what it is that readers like about them, and I wanted to make sure that that was still present in the movie. It was less important to me to have details correct about setting and more about the feeling that you get when you see the film, which is, I hope, a cozy and warm feeling that makes you feel really hopeful.

There’s something very compelling about the immediacy and urgency of adolescence. As a storyteller, I’m drawn to first times and to how intense all of those emotions can feel in the moment. What’s interesting for me is being able to honor that and treat it with respect, and not think that because it’s about young people, it’s somehow less important of an experience.

I'm not one of those writers that drafts out 500 pages, and then cuts a bunch of stuff, and then does new stuff on the fly. I'm just a lot more slow. And my process is every word pretty much gets used. I don't really have a lot of stuff on the cutting room floor from the books. I mean, some conversations and smaller scenes, but I don't think there's any big plot point or anything that I wrote but didn't use.

Writing for me, 95% of the time, it's torture, because I'm basically walking through the forest blindfolded trying to feel my way through and then I'm almost there, and I can sort of take it off and then see where I'm at, and then I have to go back and sort of move things around and make sure it's all feeling cohesive. But the process itself can feel really arduous and a real struggle to get through. I think everyone has their own process and mine is particularly torturous.

What I would say is, don’t even look at a screen. Get a notebook and pen. For me, I always prefer to start writing with a pen. For me, the blank page is just a possibility. It’s like, "What can I feel on this page?" That’s really exciting. But if I look at the blank page, it feels like pressure. With a notebook, you can scribble down whatever you want and you can move things around the page. It’s never really gone. You can always find it again. It feels a little less free for me on a computer. I guess that would be my tip. Just start really organically with paper and a pen.

In the libraries

Open Library Always and Forever, Lara Jean · 2017 View library record ↗ Open Library It's Not Summer Without You · 2010 View library record ↗ Open Library P.S. I Still Love You · 2000 View library record ↗ Open Library The Summer I Turned Pretty · 2000 View library record ↗ Open Library To All the Boys I've Loved Before · 2014 View library record ↗ Open Library We'll Always Have Summer · 2011 View library record ↗

Read Jenny Han

To All the Boys I've Loved Before 2014 Find a copy The Summer I Turned Pretty 2000 Find a copy It's Not Summer Without You 2010 Find a copy P.S. I Still Love You 2000 Find a copy We'll Always Have Summer 2011 Find a copy Always and Forever, Lara Jean 2017 Find a copy